No doubt the devoted follower of the mystical method will not be troubled by considerations such as these. To him the supposed fitness of the poem to convey his religious ideas is the one sufficient proof of an original design that it should serve that end. So long as the question is approached in this way, the absence of clear evidence only delights the prejudiced commentator with the opportunity it affords for the exercise of his ingenuity. To a certain school of readers the very obscurity of a book is its fascination. The less obvious a meaning is, the more eagerly do they set themselves to expound and defend it. We could leave them to what might be considered a very harmless diversion if it were not for other considerations. But we cannot forget that it is just this ingenious way of interpreting the Bible in accordance with preconceived opinions that has encouraged the quotation of the Sacred Volume in favour of absolutely contradictory propositions, an abuse which in its turn has provoked an inevitable reaction leading to contempt for the Bible as an obscure book which speaks with no certain voice. Still, it may be contended, the analogy between the words of this poem and the spiritual experience of Christians is in itself an indication of intentional connection. Swedenborg has shewn that there are correspondences between the natural and the spiritual, and this truth is illustrated by the metaphorical references to marriage in the Bible which have been adduced for comparison with the Song of Solomon. But their very existence shows that analogies between religious experience and the love story of the Shulammite may be traced out by the reader without any design on the part of the author to present them. If they are natural they are universal, and any love song will serve our purpose. On this principle, if the Song of Solomon admits of mystical adaptation, so do Mrs. Browning's _Sonnets from the Portuguese_.